曹雪芹在一定情度上是怨自己父亲的
《蒋勋说红楼梦》（167）
一、在古代父权社会里，女性根本就是可以随时牺牲的角色，像过去的和亲政策，摆明了让你去就是做女间谍，必要的时候你是要牺牲的。
1. In ancient patriarchal societies, women were essentially roles to be sacrificed at any time. Policies like the historical marriage alliances explicitly sent women to act as spies, requiring them to sacrifice themselves when necessary.
二、西施、貂蝉、王昭君全是女间谍，四大美人有三个是间谍，只有杨贵妃算是单纯的美女。
2. Xishi, Diaochan, and Wang Zhaojun were all female spies. Among the Four Great Beauties of ancient China, three were spies, with only Yang Guifei considered purely a beauty.
三、大概从《长恨歌》开始，她们为男性做了一点点婉转的掩饰，从"宛转蛾眉马前死"到"君王掩面救不得"，是"掩面"这两个字救了皇帝，因为其中有不忍的成分。更多的戏曲小说，男性对女性的死亡是没有任何感觉的。
3. Starting from the "Song of Everlasting Sorrow," these stories began to provide subtle cover for men. From "her moth-like eyebrows dying before the horses" to "the emperor covering his face, unable to save her," the phrase "covering his face" saves the emperor because it implies a sense of compassion. In most operas and novels, men show no feeling whatsoever about women's deaths.
四、金钏儿的妈妈，女儿死了，妈妈拿了赏物，只想到磕头谢恩，竟然一点不觉得委屈。可是宝玉却为金钏儿感伤，甚至没有心情去回答父亲。
4. When Jinchuan died, her mother received rewards and could only think to kowtow in gratitude, showing no sense of grievance at all. Yet Baoyu mourned for Jinchuan and was even in no mood to answer his father.
五、贾政在《红楼梦》里出场的机会并不多。可是他一出场，语言绝对是官场上的，比如经常使用那种对仗的句子，前面说宝玉"在外流荡优伶，在内奸淫母婢"，现在又说要打死宝玉，以免"上辱先人，下生逆子"之罪，这简直像是判案的语言。
5. Jia Zheng doesn't appear frequently in "Dream of the Red Chamber," but whenever he does, his language is strictly official. For instance, he often uses parallel couplets, previously saying Baoyu "frolics with actors outside and seduces his mother's maid inside," and now declaring he must beat Baoyu to death to avoid the crime of "dishonoring ancestors above and producing an unfilial son below." This sounds exactly like judicial language.
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